Ballad of consent to this world, consisting of twelve xylographic plates, carved with gouge on DM, hand-printed with black ink on untreated raw cotton. Subsequently intervened on the prints with different pictorial treatments (ink, solvents) originating monotypes that, in turn, are added in layers to the initial work, interfering with each other, visually forming a wall of approximately 12m. long by 3.5m. Wide.

{...} Ballad of consent to this world - so the author titled his only work in this exhibition - wants to be a putrid scoria from which the human being comes out with ashen eyes, tired of searching in the immense darkness to which he leads us our cowardice, dulling our senses, exhausting body and mind to finally acquire awareness of the seriousness of our abandonment. There is not a meditative possibility here to face the times that we live or space to hide. In each xylographic matrix it is eaten or eaten. Yes, they have read correctly: like the human wolves of Thomas Hobbes; like the blood-hungry survivors of Cormac McCarthy's Road.

Direct action on our consciences, claims the artist. Nothing of beauty shaved to deceive us in a lost battle. Carlos Ramírez understands that the work is born of the loss, of the defeat, from that place where nobody expects a miraculous salvation; much less the resurrection. But the fight against the Devil is sterile. Except that in the dispute our passions are enlarged and the energy released in acts to combat it illuminate our noble desires to transcend the sung defeat. {...}